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Artificial Darkness
Darkness has a history and a uniquely modern form. Distinct from night, shadows, and artificial light, “artificial darkness” has been overlooked—until now. In fact, controlled darkness was essential to the rise of photography and cinema, science and spectacle, and a century of advanced art and film. Artificial Darkness is the first book to historicize and theorize this phenomenon and map its applications across a range of media and art forms. In exploring how artificial darkness shaped modern art, film, and media, Noam M. Elcott addresses seminal and obscure works alongside their sites of production—such as photography darkrooms, film studios, and laboratories—and their sites of re...
Cyanotypes
Cyanotypes documents six distinct series of cyanotypes produced by visual artist, performer and composer Marclay in collaboration with Graphicstudio.Known as the inventor of 'turntablism', Marclay has explored the relationship between visual and sonic phenomena through his work in diverse media.In the cyanotypes, he reclaims the obsolete technology of the audio cassette as a tool for visual abstraction. First developed in the 1840s, the cyanotype is a camera-less photographic process performed by placing objects directly onto a photosensitive surface, resulting in a silhouetted image.Commonly known as 'blueprints', cyanotypes were famously used by nineteenth century botanist Anna Atkins and ...
Dreamlands
A fascinating survey of pioneering work in experimental cinema and art from 1905 to the present day, revealing the high stakes and transformative potential of these forms This generously illustrated publication surveys the work of filmmakers and artists who have pushed the material and conceptual boundaries of cinema. Over the past century, the material, optical, abstract, spatial, and tactile properties of film have been tested at a level of experimentation and utopian ambition that is generally unrecognized. Whether creating synesthetic or 3-D environments, projective or non-projective installations, generations of leading-edge artists have explored how technology transforms experience. Th...
Vera Lutter
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Hommes du XXe siècle
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Glass! Love!! Perpetual Motion!!!
German writer, critic, and theorist Paul Scheerbart (1863–1915) died nearly a century ago, but his influence is still being felt today. Considered by some a mad eccentric and by others a visionary political thinker in his own time, he is now experiencing a revival thanks to a new generation of scholars who are rightfully situating him in the modernist pantheon. Glass! Love!! Perpetual Motion!!! is the first collection of Scheerbart’s multifarious writings to be published in English. In addition to a selection of his fantastical short stories, it includes the influential architectural manifesto Glass Architecture and his literary tour-de-force Perpetual Motion: The Story of an Invention. ...
Inadvertent Images
As an artistic medium, photography is uniquely subject to accidents, or disruptions, that can occur in the making of an artwork. Though rarely considered seriously, those accidents can offer fascinating insights about the nature of the medium and how it works. With Inadvertent Images, Peter Geimer explores all kinds of photographic irritation from throughout the history of the medium, as well as accidental images that occur through photo-like means, such as the image of Christ on the Shroud of Turin, brought into high resolution through photography. Geimer’s investigations complement the history of photographic images by cataloging a corresponding history of their symptoms, their precariou...
Time Machine
How cinema and video have transformed our perception of time The year 1895 saw two events, from which Time Machine: Cinematic Temporalitiestakes its bearings: the publication of H.G. Wells' "scientific romance" The Time Machine: An Invention, the first literary work in which movement through time is made possible by technology; and the first public presentation, on the evening of December 28, 1895, of the Lumière Brothers' Cinématographe. Based on these two moments, Time Machineshows how cinema, video and video installations have transformed our perception of time through techniques of slow motion and acceleration, loops and reversals, time-lapse and freeze-frame, multiple exposure and stop-motion animation, as well as through montage: that crucial act of separating and joining images and sounds which has often been considered as one of cinema's defining traits. The 11 texts in this volume shed new light on the aesthetic, epistemological, political and media-theoretical implications of cinematic time manipulation.
Screen/Space
Projected-image art occupies an increasingly important place in the contemporary art-world. But does the projected image have its own specificity, beyond the histories of experimental film and video on the one hand, and installation art on the other? What is a projected image, and what is the history of projected-image art? These questions and others are explored in this thoughtful collection of nine essays by leading international scholars of film and projected-image art. Clearly structured in three sections – "Histories," "Screen," "Space" -- the book argues for recognition of the projected image as a distinctive category in contemporary art, which demands new critical and theoretical approaches. The contributors explore a range of interpretive perspectives, offering new insights into the work of artists including Michael Snow, Carolee Schneemann, Pipilotti Rist, Stan Douglas, Gillian Wearing, Tacita Dean, Jane and Louise Wilson, amongst others. The Introduction supplies a concise summary of the history of projected-image art and its interpretation, and there is a focus throughout the book on detailed analysis of individual artworks.
Screen Genealogies
Against the grain of the growing literature on screens, *Screen Genealogies* argues that the present excess of screens cannot be understood as an expansion and multiplication of the movie screen nor of the video display. Rather, screens continually exceed the optical histories in which they are most commonly inscribed. As contemporary screens become increasingly decomposed into a distributed field of technologically interconnected surfaces and interfaces, we more readily recognize the deeper spatial and environmental interventions that have long been a property of screens. For most of its history, a screen was a filter, a divide, a shelter, or a camouflage. A genealogy stressing transformation and descent rather than origins and roots emphasizes a deeper set of intersecting and competing definitions of the screen, enabling new thinking about what the screen might yet become.
